Desire, a Crooked Yearning, and the Plants of<i>Endymion</i>

Kelley, Shannon

doi:10.1086/685941

Cited by 2 publications

(1 citation statement)

References 18 publications

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“…39 After all, this artificial tree seems to have featured in a number of his 'Ovidian' plays (ie, The Woman in the Moon, Galatea, Endymion, as well as Love's Metamorphosis), and, as Shannon Kelley speculates, its 'wooden trunk' might well 'have been recognizable to an early modern audience as a chest' and 'functioned as a space from which an audience would have expected a hidden actor to emerge'. 40 Theatre is a medium that brings human bodies as well as properties onto the stage, and it thus requires audiences to engage with the physicality of metamorphosis in a different way than narrative poetry. The attraction of Lyly and his fellow Elizabethan-era dramatists to retro-metamorphosis may well speak to the various aesthetic and affective incentives involved in returning actors' bodies (and the major characters they represent) to the stage before the end of a play.…”

Section: Ovidian Retro-metamorphosis 77mentioning

confidence: 99%

Ovidian Retro-Metamorphosis on the Elizabethan Stage

Reid

2018

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Although Ovid dedicated his Metamorphoses to the subject of change, the vast majority of the corporeal alterations catalogued in this ancient Roman poem are singular, permanent transformations. In contrast, dramatists writing for the Elizabethan stage tended to represent fantastical, neo-Ovidian metamorphoses as temporary and reversible. With particular reference to the plays of John Lyly — and especially Love’s Metamorphosis — this article exposes conceptual and generic deviations between the static post-metamorphic norm found in Ovid’s Latin poetry and Elizabethan England’s theatrical depictions of bodily retro-metamorphoses.

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Section: Ovidian Retro-metamorphosis 77mentioning

confidence: 99%